Rope by Katherine Anne Porter

The Analysis of Stream of Consciousness Technique in The Jilting of Granny WeatherallAbstractKatherine Anne Porter was a famous short story writer in the 19th century. “The Jilting of Granny Weath erall” is one of her masterpieces. Through the close reading of the original text, this article aims to analyze the different kinds of stream of consciousness technique, such as time montage, interior monologue and multiple points of view in this short story, which contributes tremendously to the development of this story.Key words:stream of consciousness; interior monologue; time montage; multiple-point-of-view; free association.Born in 1890, Katherine Anne Porter was mainly famous for her short stories which are considered to be beyond comparison of all time. Her ever lasting fame lies in her endeavor to be strict with her writing. She is a “publicly recognized stylistic in the critic circle” (Tan 27 ). The Jilting of Granny Weatherall is a representative work of Porter’s short story. In the story, the autho r employs the technique of stream of consciousness fluently and deftly.Though simple in content and language, “The Jilting of Granny Weatherall” is considered to be a masterpiece of Porter’s short stories. The story unfolds during the dying moment of the suc cessfully “weather-all” things Granny Weat herall who is almost eighty years old. On the very moment of her last day, the fortitude granny finally reviewed her past and faced directly to the secret kept within her heart. The secret was that when she young and get married, her fiance, George, did not appear at the alter. One never knows why the man jilted Granny Weatherall, nor does one know the feeling of young Granny Weatherall at that time, however, she must be deeply hurt and suffering from lifelong embarrassment. Without deep thought, she quickly married with another man named John. Seemingly, the fate has complemented the Granny and brought her another man. In fact, she was jilted again. The man died at a young age and left all the life burden to the twice jilted granny. She had no choice but to be strong and able. She brought her five children up and did all the hard work on her own. She has managed to weather it all and has proved herself to be a truly wonderful and admirable woman. Finally, the last day of the tough woman came. When she was in the unconscious consciousness, she shuttled back and forth between past and present. Once again she thought of the gnawing memory of George. Evidently, she could not forget George and the life long embarassment he brought to her. She would like to tell him about what a wonderful life she had. By saying so, she could revenge on him. Finally, the old granny died and stopped all the conscious and unconscious thought.The plot of The Jilting of Granny Weatherall is non-linear and fragmentary. It serves as a good example of the stream of consciousness technique. Meanwhile, by employing the technique, the author successfully presents the dying moment of theold lady whose reminiscent of the past is quite chaotic. Her consciousness is sometimes in the here and now, while sometimes it jumps to the back and past.Firstly, the author uses the time montage technique in the story. “Originally, montage is a term used in the film art, referring to the rearrangement in a certain space of different pictures in different times and places.” (Li 108). In order to break the bounds of natural clock time, Porter employs the time montage. The stream of consciousness fiction writers frequently adopt time montage and space montage in their work to reveal the character s’consciousness. Time montage in the stream of consciousness work means that wihtin a certain space, the characters’ consciousness goes beyond the time limits, and freely moves between the past, the present and the future. It is an effective way of revealing the change of the characters’consciousness, and enable the characters’ life experiences in different stages to be fully manifested and interlocked and overlapped within a certain limited space, and thus displaying the pluralistic and three-dimensional effects. In “The Jilting of Granny Weatherall”, the author skillfully and successfully uses time montage. Here is a typical example. “The pillow rose about her shoulders and pressed against her heart and the memory was being squeezed out of it: oh, push down the pillow, it would smother her if she tried to hold it. But he had not come, just the same. What does a woman do when she has put on the hit veil and set out the white cake for a man and he doesn't come?She tried to remember. No, I swear he never harmed me but in that. He never harmed me but in that…and what if he did? There was the day, the day, but a whirl of dark s ick rose and covered. It crept up and over into the bright field where everything was planted so carefully in orderly rows. That was hell, she knew hell when she saw it. For sixty years she had prayed against remembering him and against losing her soul in the deep pit of hell, and now the two things were mingled in one and the thought of him was a smoky cloud from hell that moved and crept in her head when she had just got rid of Doctor Harry and was trying to rest a minute. Wounded vanity, Ellen, said a sharp voice in the top of her mind. Don’t let your wounded vanity get the upper hand of you. Plenty of g irls get jilted. You were jilted, weren’t you? Then stand up to it. Her eyelids wavered and let in streamers of blue-light like tissue paper over her eyes. She must get up and pull the shades were not down. How could that happen? Better turn over, hide fro m the light, sleeping in the light gave you nightmares.” By placing the experience of past and present together, the author reproduces the life track of the granny. I t involves the reader’s thought to flow freely with the unconscious granny and generally k nows the basic experience of the tragic character. Later on, the writer’s experience once again flashes back to the present with the protagonist.Secondly, the author uses the interior and narrated monologue. Interior monologue refers to the unspoken psychological language or language consciousness in the char acters’ mind expressed through free speech. In the interior monologue, without the disruption of the narrator, what is going on in the characters’ mind flows out freely and faithfully with more direct ness and vividness. Porter writes that “She flicked her wrist neatly out of Doctor’s Harry’s pudgy careful fingers and p ulled the sheet up to her chin. The brat ought to be in knee breeches. Doctoring around the country with spectacles on the nose! Get along now, take your schoolbooks and go.There’s nothing wrong with me. Well, and what if she was? She still had cars. It was like Comelia to whisper around the doors. She always kept things secret in such a public way. She was always being tactful and kind. Comelia was dutiful; that was the trouble with her. Dutiful and good: “So good and dutiful” said Granny, “that I’d like to spank her.” She saw herself spanking Comelia and making a fine job of it.” By using the interior monologue, Granny’s in nermost thought was presented, while sometimes the narrated monologue slipped in and thus the two kinds of narration intercourse with each other. Just like the conscious present and unconscious past are juxtaposed. It makes the reader know more about both the present and the past.Thirdly, the author uses the multiple-point-of-view. A well-suited point of view is significant for both the overall structure and the artistic effect of a literary work. The choice of the point of view in “The Jilting of Granny Weatherall” undoubtedly reveals Porter’s creative power as an excellent stylist, and is also an important factor that accounts for the artistic success of the work. The story in “The Jilting of Granny Weatherall” develops on two parallel levels. One is the objective world, on which the author records Granny’s constant change beween her state of comma and that of sobriety before her death; the other is Granny’s subjective world, on which the author deals with Granny’s flow of consciousness. To perfectly combine these two levels in the work, the author employs the multiple-point-of-view through the alternate use of the omniscient point of view, which records Granny’s change between her states of comma and sobriety, and the internal point of view, which reveals Granny’s mental activities. “Meant to wave good-bye, but it was too much trouble. Her eyes closed of themselves. It was like a dark curtain drawn around the bed. The pillow rose and floated under her, pleasant as a hammer in a light wind. She listened to the leaves rustling outside the window. No, somebody was swishing newspaper: No, Comelia and Doctor Harry were whispering together. She leaped broad awake, thinking they whispered in the ea r.”There is a constant change between granny’s co mma state and her sobriety. In order to develop the story smoothly, the author employed the multiple point of view in depicting the story. On the first hand, the author depicted the objective world and behaviors of the people confronting granny’s dying. On the other hand, the author exhibited the innermost mental activities of the old granny.Fourthly the author also uses free asssociation. It refers to the process of the aimless and illogical flow of the characters’consciousness. The characters’consciousness in a stream of consciousness work does not follow the time sequence; instead, the consciousness about the past, the present and the future interweaves; the characters sometimes focus their consciousness on eternal reality, sometimes on imagination and internal reality, namely, the characters’consciousness flows to and fro between the external world and the internal world. And in either case, certain catalytic agents are needed to activate the characters’ imagination.In the Jilting of Granny Weatherall, the use of free association is a very important method for presenting Granny’s consciousness. And similarly, the catalytic agents that activate Granny’s consciousness come from certain stimuli either in the objective world or in Granny herself. These stimuli first result in the sense impression in Granny’s head, and then lead to her consciousness activities. For instances: fristly,Granny imagines that the pillow on the bed flows under her; this causes her to think of the swerving hammock in the light wind; the swerving hammock in the light wind causes her to think of the leaves rustling in the wind outside the window; the rustling leaves in the wind lead to her illusion that Comelia and Doctor Harry are probably speaking ill of her; secondly, Comelia’s messy room causes Granny to recall the better housesshe has kept; the better houses she has kept lead her to recall the work she has done in her life, especially the farm-work and child raising; the work she has done leads to her pride; her pride causes her to wish that John would be back again to see her children; the work she has already done at the same time makes her think of the many things left unone and feel energetic about setting to work at the present; thirdly, Granny’s need of fresh air in the room in which she is now confined causes her to think of the wedding dy with a fresh breeze; her recalling of the wedding day leads her to recall her jilting by George; her jilting by George leads to her recalling of how she has been suffering from the struggle of trying to remember and forget him in the past sixty years. The use of free association in The Jilting of Granny Weatherall helos the major events in Granny’s life to present themselves naturally and smoothly, and thus expands the time and space of the narration.Through the frequent change of montage, multiple point of view and interior monologue, Porter smartly and deftly portrays the dying moment of the old granny. The readers thus get a panorama of the fortitud e, strong, tolerant old granny’s whole life. The technique also contributes a lot to the theme and content of the story. The perfect combination of the structure and content made this short story an enduring success in literary. “T he Jilting of Granny Weatherall”is a successfully managed classical stream of consciousness techniques. Through the frequent shift between the omniscient point of view and the internal point of view, and the use of interior monologue together with indirect interior monologue, she makes the narration unfold itself on the two levels of the external objective world and the internal subjective world, revealing on the one hand the change of Granny’s illness on the last day of her life, and on the other her rich and complex mental activities, thus manifesting the image of Granny in a three-dimensional way; through the use of free association and time montage, she presents in a limited amout of time all the major events in Granny’s life, expands the amount of information in the work, gives the reader the opportunity to fully grasp Granny’s personality, highlights the theme of the work, and enriches its connotations; besides, the stream of consciousness techniques enormously add to the artistic brilliance of the work, making it one of Porter’s most popular short stories and one of the most widely read short stories in modern American literature.Bibliography李维屏：《英美意识流小说》。

《开花的犹大树》作为凯瑟琳·安·波特最有名的短篇小说之一，是她文学成就中一个辉煌的作品，它建立了波特在文学领域的崇高地位。

在这篇小说中，波特向读者展现了丰富的象征艺术。

而这些复杂的象征首先隐含在小说的题目—《开花的犹大树》中，开花的犹大树是背叛者的象征，同时也是这部小说中最重要的象征。

此外，在小说中的人物—劳拉、布拉焦尼和欧亨尼奥身上，也体现出许多象征意义。

波特在描述这些人物时，并没有直接表达自己的真实感情，而是留给读者小说中人物身上许多不被解释的细节，这些细节是有关象征意义至关重要的线索。

通过微妙地运用象征艺术，波特不仅深化了小说的主题—背叛，也使故事的风格更加优美。

关键词象征艺术，开花的犹大树，人物Title Symbolism in “Flowering Judas”Abstract“Flowering Judas”, one of Porter’s best-known short stories, is a splendid work among her literary achievements. It has promoted Porter’s good reputation in the field of literature. In “Flowering Judas”, Porter presents rich symbolism to the readers. The abstruse symbolism is firstly implied in title--“Flowering Judas”--a symbol of betrayer, which is the most important symbol in this short story. Furthermore, the main characters--Laura, Braggioni and Eugenio, represent many symbolic meanings as well. Porter doesn’t express her own meanings about those characters directly. Instead, she leaves many unexplained details, which are significant clues to the symbolism, to the readers. By using so much symbolism subtly, Porter not only enhances the theme of betrayal, but also makes the style of the story more beautiful.Keywords symbolism, the flowering Judas, characterContents1 Introduction (1)1.1 Katherine Anne Porter’s Life and Literary Achievements (1)1.2 The style of Katherine Anne Porter’s Short Stories (2)1.3 A Brief Summary of “Flowering Judas” (3)1.4 A Brief Introduction to Symbolism (3)2 Symbolism Suggested in the Title (4)3 Symbolic Meanings Embodied in the Main Characters (5)3.1 Symbolic Meanings in Laura (5)3.2 Symbolic Meanings in Braggioni (7)3.3 Symbolic Meanings in Eugenio (8)Conclusion (10)Acknowledgements (11)References (12)1 Introduction1.1 Katherine Anne Porter’s Life and Literary AchievementsKatherine Anne Porter, the fourth of five children of Harrison Boone Porter and Mary Alice Tones Porter, was born in May 15, 1890, in Indian Creek, Texas. Her long life was divided into two distinct parts. The first twenty-three years were spent in rural Texas, which made her informed with Southwestern stories of the Civil War and family legend. She gained the experience outside her native region from the rest of her life. Each part provided exceptionally rich subjects and themes for her works. Having made great contributions to American literature, Porter died in Washington on September 19, 1980.During her long life, Porter’s literary achievements were extremely noticeable. In 1922, Porter’s first published story, “Maria Concepcion”, appeared in Century Magazine. In 1931, the collection of stories was published under the title Flowering Judas and other stories including “Flowering Judas”, “Maria Concepcion”, “Magic”, “Rope”, “He” and “The Jilting of Granny Weatherall”. The collection won enthusiastic praise form critics. In the New Republic, Louise Bogan declares, “there is nothing quite like Porter’s talent very little that approached its strength in contemporary writing.”(Bogan, 1932:88) And the critical success of the first edition of “Flowering Judas” fixed Porter’s high position in American letters. At the same time, it earned her a Guggenheim Fellowship. The enlarged collection, under the same title in 1935, which includes two other novelettes, “The Cracked Looking-Glass” and “Hacienda”, continued to win the praise. John Chamberlain argues, “The influence of these stories seems just as important as it did when they were originally published five years ago.”(Chamberlain, 1937:71)Porter’s second collection of three novelettes under the title “Pale Horse”, “Pale Rider” in 1939 also won the favorable comments from critics. Lewis Gannett calls Miss Porter one of the greatest American writers. In 1952, the publication of a collection of Porter’s essays The Days Before was praised by reviewers for Porter’s good perception, but it didn’t draw in new readers.In 1965, the publication of The Collected Stories of Katherine Anne Porter won boththe Pulitzer Prize and the National Book Award. Her last major work was The Collected Essays and Occasional Writings of Katherine Anne Porter (1970).It was not until the publication of Ship of Fools in 1962 did Porter’s popular reputation catch up with her firmly established critical fame and bring with it long-awaited financial reward.1.2 The Style of Katherine Anne Porter’s Short StoriesHowever, Porter’s literary achievements should be mainly attributed to her short stories, which are famous for the unique stylistic richness. Porter is praised for her beautiful style, which is struck by the precise use of phrase and metaphor, the delicate use of rhythm and the creation of vivid images of life. She is a careful crafter of fiction, using the classical concept of the artist as a maker to describe the work of the artist. In this sense, she is an artist for her careful craftsmanship. Besides, Porter doesn’t write the common stories with obvious plots of development. While she was writing stories, she couldn’t see the stories passing from one minute to another. In other words, she doesn’t rely on action or movement from point to point. Eudora Welty, writes, “Katherine Anne Porter is writing stories of the spirit, and the time that fills those moments is eternity.”(Welty, 1965:51) Furthermore, Porter’s short stories are from her real experience or other human beings’. Although those stories are what happened in the past, they are narrated with the present tense, which keeps the memory images alive.In view of Porter outstanding success in the field of literature, Porter caught an attention of critics. They made comments on her from many aspects. Robert Penn Warren thinks, “in spite of the critical praise for her works, Miss Porter belongs to the relatively small group of writers-extraordinarily small; her readership remains exclusive and relatively small.”(Warren, 1969:7) John W. Aldridge considers Porter as an extraordinary symbolist. He comments that the excellent symbols in Porter’s stories are appreciated by everyone, but they cannot be understood clearly by most people. Eudora Welty argues that Porter likes to write moral stories about love and hate, trust and betrayal. And these themes are drawn from Porter’s wide-ranging experience. Darlene Harbour Unrue says, “Porter is a realist in the complete sense of both style and theme, in her careful attention to the details of verisimilitude, and in his insistence upon the pragmatic function of will within theboundaries of natural, universal laws.”(Unrue, 1988:19) Ray B. West, Jr., argues that Porter embodies an attitude that expresses the necessity for the application of the ancient truth of faith and love as a fructifying element in human existence.1.3 A Brief Summary of “Flowering Judas”“Flowering Juda s”is one of Porter’s best known and most often anthologized stories. This short story embodies no belief, motives and theories. In addition, “Flowering Judas” seems to be more poetic than narrational in style. However, it is a short story rather than a poem. Beverly Gross Hardy writes, in “Flowering Judas”, the poetic language and form are there to support the telling of a story.”(Gross, 1968:39) But Porter does not commonly write a direct, linear story. Her technique in “Flowering Judas” is characterized by a controlling central image (Braggioni sitting before Laura, playing his guitar). David Madden sees the structure of “Flowering Judas” as a wheel, with the image of Braggioni in Laura’s room at the hub and the other incidents arranged as spoke.Although the form of this story is delicate, the surface summary is relatively simple. Laura, a former Catholic, now is teaching in a Mexico school and engaged in revolutionary tasks for Braggioni, a corrupt revolutionary leader who is courting her. The story takes place during an evening when Braggioni sings for her and wants to get her love. Night by night, Laura’s disenchantment with the revolution ideal is growing while Braggioni discovers Laura is still emotionless. In addition, Laura has rejected three suitors, including Eugenio, the principle figure in Laura’s dream at the end of the story. Porter makes it clear that she is expected to present a story of the most painful moral and emotional confusions. Accordingly, the theme of the story is self-betrayal. It can also be explained like this--only faith and love can really make people live happily. Mary Bride, Sister argues that betrayal isa theme that concerns Porter all her life and in most of her works.1.4 A Brief Introduction to SymbolismSymbolism, a major art trend, developed in the mid-19th century in France. Later, it exceeded the French metropolitan and the field of poetry, and became a worldwide literary phenomenon. It is usually regarded as an important skill for writers in the literature creation. That is, according to the relationship between two objects, a kind of abstract concept, ideaor feeling is represented by the image of a concrete object. Symbolism is functional in expressing tactfully the feelings, which are difficult to convey directly. In addition, by the conversion of the abstract to the concrete, the artistic influence of works will be extremely strengthened.Baudelaire is regarded as the originator of symbolism. In 1857, his “Flower of Evil”, marked the beginning of symbolism. Then, a group of young poets, such as Waren, Rambo, Maramen and so on, promoted the development of the trend of poetry. It was Li Jinfa that initiated symbolism in China. In 1925, his first collection of poems “Light Rain” marked the transfer of symbolism from birth to sprout in the new literary movement. Meanwhile or later, a number of symbolists, such as Wang Duqing, Mu Muwu, Yao Pengzi and so on, appeared as well. Together with Li Jinfa, they formed a school of Chinese symbolism.2Symbolism Suggested in the TitleWhen mentioning “Flowering Judas”, the reader will give much attention to symbolism in this short story. Porter represents the most abstruse symbolism through the title, the three characters and many unexplained details. Most symbolism is concerned with religion. Lean Gottfrid states, “Miss Porter’s early training and background made spontaneously available to her a rich store of religious imagery and language behind which lies centuries of systematic theological thought, to give order and form to one of her sketches of the failure of the life of man in the Western world. Also, the religious symbolism found in this short story must be understood as ironic….” (Gottfrid, 1969:84) The most important symbol of the story, the flowering Judas tree, appears in the title itself. Darlene Harbour Unrue gets the view, “the importance Porter gives to symbols is often confirmed in the titles she chooses for her stories.”(Unrue, 1988:17) The flowering Judas is a tree known as the Judas tree or Red-bud. A popular legend relates that it is from this tree that Judas Iscariot hanged himself. And its buds are red because it is actually the body of Judas, who is said to have had red hair. In addition, the tree is named as “flowering Judas” in T. S. Eliot’s poem Gerontion:In the juvescence of the yearCame Christ the tigerIn depraved May, dogwood and chestnut, flowering Judas,To be eaten, to be divided, to be drunkAmong whispers. (West, 1947:88)It’s known that dividing, eating and drinking among whispers suggest the Christian sacrament, but it is a particular kind of sacrament. “Christ the tiger” refers to the pagan ritual. The participants will own the courage of the tiger after drinking the blood of a slain tiger. In a sense, this is only a more primitive form of sacrament, one which changes the virtues from the animal to man directly. In the Christian ritual, the symbolic blood of Christ is drunk by participants to make up for the sins and engender the virtues of Christ.According to the legend and T. S. Eliot’s poem, it can be concluded that the flowering Judas is simply seen as a symbol for the betrayer of Christ. With the symbolism in the title, Porter suggests the theme of her story, which would be something about betrayal.3 Symbolic Meanings Embodied in the Main CharactersIn addition to the title, symbolism in this short story is primarily presented in the main characters--Laura, Braggioni and Eugenio. Porter doesn’t give a vivid description to them but just portrays slightly the details such as clothing, speech and behavior. And these details are important clues to the symbolic meanings.3.1 Symbolic Meanings in LauraLaura is the main character in “Flowering Judas” as well as one of the most representative female characters in all Porter’s short stories. Laura and other majorities of Porter’s central female characters provide a commentary on the evolutionary role of women. M. M. Liberman writes, “Negation or refusal of spiritual responsibility is the keynote of the spiritual existence of Laura; Laura is seen explicitly to have stolen life’s spiritual riches from herself.”(Liberman, 1971:55) In this protagonist, there exist many symbolic meanings.Firstly, as a courier for the revolutionists now, she has replaced her discarded faith, her childhood Catholicism, with the revolution that practices death. Since she has accepted the principles of revolution, she has to get rid of the principles of her religious education. Thus, her association with the revolutionary movement is a symbol for betrayal of her religion. Paradoxically, because of her early training, she is pulled away from a belief in therevolutionary cause of Braggioni. Her continuing furtive flirtatious with Catholicism is a symbol for betrayal of revolution. For example, Laura betrays the revolution’s ideal by secretly stepping into a church to pray, knowing that discovery will cause a scandal. Besides, she cherishes a drawerful of dainty collars, all edged with handmade lace. She will not wear lace made on machines, which are sacred to her special group of revolution. Laura’s rejecting machines symbolizes her private betrayal to the revolutionary faith.In a word, although Laura is desirous to be engaged in revolutionary tasks, she can’t fully give up her early religious training. Without spiritual energy, she has to stay. Her dilemma between her present living condition and her true inner world is a symbol for her self-betrayal.Secondly, Porter presents symbolism through Laura’s attitude toward all kinds of people around her. The Indian children she teaches are evidently very fond of her-crowding around her each morning with fervent greetings and festooning her desk with flowers, and on one occasion inscribing in colored chalks on the blackboard the words “We lov ar ticher”.(Porter, 1965:95) But there is no indication that she responds with any warmth. Everyday she teaches the children she does not love. They remain strangers to her, because she cannot feel the proper emotion for them. In addition, she can’t participate in the revolutionary fervor of the workers, which might be stated as an activity expressive of secular love for their fellowmen. Also, she responds to none of her suitors, including Braggioni, though she thoughtlessly throws one of them a rose, a symbol of erotic love. In fact, Laura is unwilling to contact closer with people because she is unable to believe them. Thus, Laura’s being indifferent to people is a symbol of negation of love and life, a symbol of self-betrayal. Her betrayal, like Judas’, lies in an inability to believe.Thirdly, many important symbols appear in Laura’s dream, too. After Eugenio dies in the jail, Laura has a dream in the end of the story. In the dream, Eugenio holds the warm bleeding flowers to Laura. When Laura eats the flowers greedily, Eugenio calls her “Murderer” (Porter, 1965:102) and “Cannibal” (Porter, 1965:102) and says that is his body and blood. Actually, Laura has become the murderer in the reality because Eugenio dies of overdoses of the narcotics that Laura brings to him. As a revolutionist, Laura has killed her fellow. Therefore, her behavior suggests the betrayal. She is a symbol of the betrayer, thedestroyer, like Judas.Besides, in the dream, Eugenio wants to take Laura to a new country far away and asks her to hurry up. But Laura cannot brave the journey without his support. “No, said Laura, not unless you take my hand.” (Porter, 1965:102) Laura’s requirement symbolizes an acknowledgement of her need for love, and a sign of her continuing reluctance to admit it.Furthermore, the cry of “No!” with which Laura awakens herself has symbolic meanings as well. It is not only a symbol of denying her self-conviction of inhumanity-her devouring gesture, but also a symbol of the despairing repetition of the cry with which, in the reality of waking experience, she has met all demands for human involvement. She is still continuing her lifelong habit of denial or rejection, which has led her to the monstrous confrontation in the dream.3.2 Symbolic Meanings in BraggioniBraggioni, another important and mirror character in this short story, is different from Laura in some ways. As a revolutionary leader, he is possessed of a deep and passionate love. But Braggioni is also a vessel of all the deadly sins. He possesses the characteristics of all the kinds of the wrath. Besides, he is also corrupt, sexual, cruel and guilty of pride and envy.The character of Braggioni also represents the use of complicate symbolism from several aspects. He symbolizes both a savior and a Judas. As a leader of men and a great revolutionist, Braggioni saves the world by sacrificing himself. It is said that “his skin has been punctured in honorable warfare”. (Porter, 1965:91) Without his great contributions, people can’t live comfortably. His followers, including Laura, always owe their favorable situation and good salary to him. To some extent, he has a deep and passionate love toward people. Besides, he is sympathetic on people, giving them handfuls of small coins from his own pocket. “He has great nobility, a love of humanity raised above mere personal affection”. (Porter, 1965:91) From this point, he is a symbol of the savior.It seems that Porter emphasizes that Braggioni is more a symbol of Judas because he has many negative characteristics. “His skin has been punctured in honorable warfare, but he is a skilled revolutionist” (Porter, 1965:91). He is a professional lover of humanity and a hungry world-savior. He has nothing but contempt for most men, even his fawningfollowers, and takes greatest delight in killing people. He gives his poor fellows only small coins from his own pockets while indulging himself with every luxury. What he has done is a symbol of betrayal of humanitarian ideals of revolution. He is a betrayer of people, just like Judas.In addition, Braggioni’s appearances also suggest his betrayal. His mouth “opens round and yearns sideways” (Porter, 1965:92). He “bulges marvelously in his expensive garments” (Porter, 1965:92) and his ammunition belt is buckled “cruelly around his gasping middle” (Porter, 1965:92). He “swells with ominous ripeness”. (Porter, 1965:92) Through these vivid descriptions, Porter represents Braggioni’s corruption and lustfulness, which implies that he is the betrayer of revolutionary ideals.Furthermore, Braggioni’s designs on Laura, who is accustomed to rejecting love and life, suggests his lustfulness. He tries his best to court her, including singing, luring, even boasting of thousands of his conquests. He says to Laura that “one woman is really good as another for me in the dark. I prefer them all”. (Porter, 1965:99) His lustfulness embodied in the designs on Laura hints that he is the betrayer of Laura’s illusions and revolutionary ideals. In this sense, he is again proved a Judas.3.3 Symbolic Meanings in EugenioLikewise, the use of symbolism is suggested in the character of Eugenio, who is seen first as one of the revolutionists languishing in jail and the most prominent figure in Laura’s dream. Ray B. West sees in him another Christ-symbol. The word “eugenic” refers to well-born. Eugenio’s name, deprived from “eugenic”, contains the symbolic meaning--well-born as well. Eugenio is a true Christ since Christ, as the Son of God, is well-born. Thus, Eugenio is seen as a true Christ. Besides, he surrenders himself up to death by means of the narcotics brought by Laura, the Judas. In Western people’s idea, this Christ-like behavior also suggests that he is a symbol of true Christ.However, there is nothing further in the story to indicate how Eugenio might in any way be a means of salvation; he is far too slender and ambiguous a figure in the story to bear the weight of being the savior. In the reality, Eugenio, as a follower of Braggioni, is bored and unwilling to wait for Braggioni to set him free. Actually, he has lost the hope of winning Laura’s love. He surrenders himself up to death. But his death is one throughboredom and despair, different from the passion of Christ. Therefore, he is the betrayer of life. And his betrayal through suicide is but a more violent, a more thoroughly fulfilled version of Laura’s own negation of life through spiritual sloth.In the dream, Eugenio is linked to the Judas tree closely. His flesh and blood are the blossoms of the tree and the finger bones of his skeletal hands are its twigs. “She saw that his hand was fleshless, a cluster of small white petrified branches… This (the worm bleeding flowers of the Judas tree) is my body and blood….” (Porter, 1965:102) In legend, the bleeding flowers are from the redbud, or Judas tree. Then the tree finally becomes the body of Judas. From the legend, it can be concluded that Eugenio is Judas-like.To sum up, Eugenio is ironically to be seen as a symbol of a true Christ. But actually he is primarily associated with despair, death, and damnation, and not at all (unless ironically) with salvation. He is in fact the betrayer of life, like Judas.ConclusionSymbolism, as a skill universally used in the field of literature, is an important artistic style for writing in Porter’s short stories. In “Flowering Judas”, symbolism is also a major feature, which subtly exits. In this story, the abstruse symbolism is firstly presented in the title itself, and then mainly embodied in the main characters- Laura, Braggioni, and Eugenio. By giving so many symbolic meanings to these characters, Porter deepens the theme of her story--betrayal.To some extent, the rich symbolism in this story makes it difficult for the readers to comprehend. It, however, highlights the beautiful style of the story.AcknowledgementsFirst and foremost, I must give the most sincere thanks to my parents because they are extremely important for my process of maturity. Without their support and encouragement, I couldn’t have finished the formidable and long life of studying.Here, I would like to attach great importance to my supervisor, Wu Lianghong, who is critically significant to the completion of my paper. Her precious guidance does not only give much help to my paper writing, but also impart the philosophy of life to me.Last, it is necessary for me to thank for all my teachers, who give me so much knowledge. They also play an important role in my today’s success.References[1] Porter, Katherine Anne. The Collected Stories of Katherine Anne Porter [M]. San Diego& New York & London: Harcourt Brace Jovanovich, 1965.[2] Bloom, Harold. Katherine Anne Porter[C]. New York: Chelsea House, 1986.[3] Unrue, Darlene Harbour. Katherine Anne Porter, Politics and Another Reading of theft[J]. Studies in short Fiction, 1993, (2):119-130.[4] Jones, Trevelyan E. Katherine Anne Porter [J]. School Library Journal, 2001, (3):262-271.[5] Steinberg, Sybil S. & Jeff, Zale Ski. Flowering Judas [J]. Publishers weekly, 1997,(3):60-72.[6] Titus, Mary. Reviews [J]. Studies in the Novel, 1995, (4):568-570.[7] Sout, Janis P. Katherine Anne Porter's The Old Order [J]. Studies in Short Fiction, 1997,(4):493-500.[8] Graham, Don. Katherine the Great [J]. Texas Monthly, 1997, (5):76-90.[9] Lavers, Norman. Flowering Judas and the Failure of Amour Courtois [J]. Studies inShort Fiction, 1991, (1):77-85.[10] 凯瑟琳•安•波特.波特中短篇小说集[M]. 鹿金译. 上海：上海译文出版社，1984.。

he katherine anne porter译文
Katherine Anne Porter（凯瑟琳·安·波特）是一位美国小说家和短篇小说家，她的作品通常探讨家庭、性别、死亡和人性的复杂性。

她的作品常常被认为是现代主义文学和南方文学的经典之一。

在翻译Katherine Anne Porter 的作品时，需要考虑到其文学风格和主题，以及其所处的文化环境和时代背景。

为了准确传达Porter 的原意，翻译必须要深入理解她的作品，并使用适当的语言和术语来保持原作的风格和语调。

在翻译Porter 的作品时，还需要注意到她经常使用复杂的象征和隐喻，这些隐喻可能在不同的文化背景下会有不同的含义。

因此，翻译需要在保持原意的同时，为读者提供足够的背景知识和文化解释，以便他们能够理解作品中的象征和隐喻。

总之，翻译Katherine Anne Porter 的作品需要对她的作品有深入的理解，并使用准确且易于理解的语言和术语来传达她的原意，同时也需要为读者提供足够的背景知识和文化解释，以便他们能够完全理解和欣赏这些作品。

The Jilting of Granny Weatherall By Katherine Anne PorterShe flicked her wrist neatly out of Doctor Harry’s pudgy careful fingers and pulled the sheet up to her chin. The brat ought to be in knee breeches. Doctoring around the country with spectacles on his nose! “Get along now. Take your schoolbooks and go. There’s nothing wrong with me.”Doctor Harry spread a warm paw like a cushion on her forehead where the forked green vein danced and made her eyelids twitch. “Now, now, be a good girl, and we’ll have you up in no time.”“That’s no way to speak to a woman nearly eighty years old just because she’s down. I’d have you respect your elders, young man.”“Well, Missy, excuse me.”Doctor Harry patted her cheek. “But I’ve got to warn you, haven’t I? You’re a marvel, but you must be careful or you’re going to be good and sorry.”“Don’t tell me what I’m going to be. I’m on my feet now, morally speaking. It’s Cornelia. I had to go to bed to get rid of her.”Her bones felt loose, and floated around in her skin, and Doctor Harry floated like a balloon around the foot of the bed. He floated and pulled down his waistcoat, and swung his glasses on a cord. “Well, stay where you are, it certainly can’t hurt you.”“Get along and doctor your sick,”said Granny Weatherall. “Leave a well woman alone. I’ll call for you when I want you…Where were you forty years ago when I pulled through milk-leg and double pneumonia? You weren’t even born. Don’t let Cornelia lead you on,”she shouted, because Doctor Harry appeared to float up to the ceiling and out. “I pay my own bills, and I don’t throw my money away on nonsense!”She meant to wave good-by, but it was too much trouble. Her eyes closed of themselves, it was like a dark curtain drawn around the bed. The pillow rose and floated under her, pleasant as a hammock in a light wind. She listened to the leaves rustling outside the window. No, somebody was swishing newspapers: no, Cornelia and Doctor Harry were whispering together. She leaped broad awake, thinking they whispered in her ear.“She was never like this, never like this!”“Well, what can we expect?”“Yes, eighty years old…”Well, and what if she was? She still had ears. It was like Cornelia to whisper around doors. She always kept things secret in such a public way. She was always being tactful and kind. Cornelia was dutiful; that was the trouble with her. Dutiful and good: “So good and dutiful,”said Granny, “that I’d like to spank her.”She saw herself spanking Cornelia and making a fine job of it.“What’d you say, mother?”Granny felt her face tying up in hard knots.“Can’t a body think, I’d like to know?”“I thought you might like something.”“I do. I want a lot of things. First off, go away and don’t whisper.”She lay and drowsed, hoping in her sleep that the children would keep out and let her rest a minute. It had been a long day. Not that she was tired. It was always pleasant to snatch a minute now and then. There was always so much to be done, let me see: tomorrow.Tomorrow was far away and there was nothing to trouble about. Things were finished somehow when the time came; thank God there was always a little margin over for peace: then a person could spread out the plan of life and tuck in the edges orderly. It was good to have everything clean and folded away, with the hair brushes and tonic bottles sitting straight on the white, embroidered linen: the day started without fuss and the pantry shelves laid out with rows of jelly glasses and brown jugs and white stone-china jars with blue whirligigs and words painted on them: coffee, tea, sugar, ginger, cinnamon, allspice: and the bronze clock with the lion on top nicely dusted off. The dust that lion could collect in twenty-four hours! The box in the attic with all those letters tied up, well, she’d have to go through that tomorrow. All those letters –George’s letters and John’s letters and her letters to them both –lying around for the children to find afterwards made her uneasy. Yes, that would be tomorrow’s business. No use to let them know how silly she had been once.While she was rummaging around she found death in her mind and it felt clammy and unfamiliar. She had spent so much time preparing for death there was no need for bringing it up again. Let it take care of itself for now. When she was sixty she had felt very old, finished, and went around making farewell trips to see her children and grandchildren, with a secret in her mind: This was the very last of your mother, children! Then she made her will and came down with a long fever. That was all just a notion like a lot of other things, but it was lucky too, for she had once and for all got over the idea of dying for a long time. Now she couldn’t beworried. She hoped she had better sense now. Her father had lived to be one hundred and two years old and had drunk a noggin of strong hot toddy on his last birthday. He told the reporters it was his daily habit, and he owed his long life to that. He had made quite a scandal and was very pleased about it. She believed she’d just plague Cornelia a little.“Cornelia! Cornelia!”No footsteps, but a sudden hand on her cheek. “Bless you, where have you been?”“Here, Mother.”“Well, Cornelia, I want a noggin of hot toddy.”“Are you cold, darling?”“I’m chilly, Cornelia.”Lying in bed stops the circulation. I must have told you a thousand times.”Well, she could just hear Cornelia telling her husband that Mother was getting a little childish and they’d have to humor her. The thing that most annoyed her was that Cornelia thought she was deaf, dumb, and blind. Little hasty glances and tiny gestures tossed around here and over her head saying, “Don’t cross her, let her have her way, she’s eighty years old,”and she sitting there as if she lived in a thin glass cage. Sometimes granny almost made up her mind to pack up and move back to her own house where nobody could remind her every minute that she was old. Wait, wait, Cornelia, till your own children whisper behind your back!In her day she had kept a better house and had got more work done. She wasn’t too old yet for Lydia to be driving eighty miles for advice when one of the children jumped the track, and Jimmy still dropped in and talked things over: “Now, Mammy, you’ve a good business head, I want to know what you think of this?…”Old. Cornelia couldn’t change the furniture around without asking . Little things, little things! They had been so sweet when they were little. Granny wished the old days were back again with the children young and everything to be done over. It had been a hard pull, but not too much for her. When she thought of all the food she had cooked, and all the clothes she had cut and sewed, and all the gardens she had made –well, the children showed it. There they were, made out of her, and they couldn’t get away from that. Sometimes she wanted to see John again and point to them and say, Well, I didn’t do so badly, did I? But that would have to wait. That was for tomorrow. She used to think of him as a man, but now all the children were older than their father, and he would be a child beside her if she saw him now. It seemed strange and there was something wrong in the idea. Why, he couldn’t possibly recognize her. She had fenced in a hundred acres once, digging the post holes herself and clamping the wires with just a negro boy to help. That changed a woman. John would be looking for a young woman with a peaked Spanish comb in her hair and the painted fan. Digging post holes changed a woman. Riding country roads in the winter when women had their babies was another thing: sitting up nights with sick horses and sick negroes and sick children and hardly ever losing one. John, I hardly ever lost one of them! John would see that in a minute, that would be something he could understand, she wouldn’t have to explain anything!It made her feel like rolling up her sleeves and putting the whole place to rights again. No matter if Cornelia was determined to be everywhere at once, there were a great many things left undone on this place. She would start tomorrow and do them. It was good to be strong enough for everything, even if all you made melted and changed and slipped under your hands, so that by the time you finished you almost forgot what you were working for. What was it I set out to do? She asked herself intently, but she could not remember. A fog rose over the valley, she saw it marching across the creek swallowing the trees and moving up the hill like an army of ghosts. Soon it would be at the near edge of the orchard, and then it was time to go in and light the lamps. Come in, children, don’t stay out in the night air.Lighting the lamps had been beautiful. The children huddled up to her and breathed like little calves waiting at the bars in the twilight. Their eyes followed the match and watched the flame rise and settle in a blue curve, then they moved away from her. The lamp was lit, they didn’t have to be scared and hang on to mother any more. Never, never, never more. God, for all my life, I thank Thee. Without Thee, my God, I could never have done it. Hail, Mary, full of grace.I want you to pick all the fruit this year and see nothing is wasted. There’s always someone who can use it. Don’t let good things rot for want of using. You waste life when you waste good food. Don’t let things get lost. It’s bitter to lose things. Now, don’t let me get to thinking, not when I’m tired and taking a little nap before supper….The pillow rose about her shoulders and pressed against her heart and the memory was being squeezed out of it: oh, push down the pillow, somebody: it would smother her if she tried to hold it. Such a fresh breeze blowing and such a green day with no threats in it. But he had not come, just the same. What does a woman do when she has put on the white veil and set out the white cake for a man and he doesn’t come? She tried to remember. No, I swear he never harmed me but in that. He never harmed me but in that…and what if he did? There was the day, the day, but a whirl of dark smoke rose and covered it, crept up and over into the bright field where everything was planted so carefully in orderly rows. That was hell, she knew hell when she saw it. For sixty years she had prayed against remembering him and against losing her soul in the deep pit of hell, and now the two things were mingled in one and the thought of him was a smoky cloud from hell that moved and crept in her head when she had just got rid of Doctor Harry and wastrying to rest a minute. Wounded vanity, Ellen, said a sharp voice in the top of her mind. Don’t let your wounded vanity get the upper hand of you. Plenty of girls get jilted. You were kilted, weren’t you? Then stand up to it. Her eyelids wavered and let in streamers of blue-gray light like tissue paper over her eyes. She must get up and pull the shades down or she’d never sleep. She was in bed again and the shades were not down. How could that happen? Better turn over, hide from the light, sleeping in the light gave you nightmares. “Mother, how do you feel now?”and a stinging wetness on her forehead. But I don’t like having my face washed in cold water!Hapsy? George? Lydia? Jimmy? No, Cornelia and her features were swollen and full of little puddles. “They’re coming, darling, they’ll all be here soon.”Go wash your face, child, you look funny.Instead of obeying, Cornelia knelt down and put her head on the pillow. She seemed to be talking but there was no sound. “Well, are you tongue-tied? Whose birthday is it? Are you going to give a party?”Cornelia’s mouth moved urgently in strange shapes. “Don’t do that, you bother me, daughter.”“Oh no, Mother. Oh, no…”Nonsense. It was strange about children. They disputed your every word. “No what, Cornelia?”“Here’s Doctor Harry.”“I won’t see that boy again. He left just five minutes ago.”“That was this morning, Mother. It’s night now. Here’s the nurse.”“This is Doctor Harry, Mrs. Weatherall. I never saw you look so young and happy!”“Ah, I’ll never be young again –but I’d be happy if they’d let me lie in peace and get rested.”She thought she spoke up loudly, but no one answered. A warm weight on her forehead, a warm bracelet on her wrist, and a breeze went on whispering, trying to tell her something. A shuffle of leaves in the everlasting hand of God, He blew on them and they danced and rattled. “Mother, don’t mind, we’re going to give you a little hypodermic.”“Look here, daughter, how do ants get in this bed? I saw sugar ants yesterday.”Did you send for Hapsy too?It was Hapsy she really wanted. She had to go a long way back through a great many rooms to find Hapsy standing with a baby on her arm. She seemed to herself to be Hapsy also, and the baby on Hapsy’s arm was Hapsy and himself and herself, all at once, and there was no surprise in the meeting. Then Hapsy melted from within and turned flimsy as gray gauze and the baby was a gauzy shadow, and Hapsy came up close and said, “I thought you’d never come,”and looked at her very searchingly and said, “You haven’t changed a bit!”They leaned forward to kiss, when Cornelia began whispering from a long way off, “Oh, is there anything you want to tell me? Is there anything I can do for you?”Yes, she had changed her mind after sixty years and she would like to see George. I want you to find George. Find him and be sure to tell him I forgot him. I want him to know I had my husband just the same and my children and my house like any other woman. A good house too and a good husband that I loved and fine children out of him. Better than I had hoped for even. Tell him I was given back everything he took away and more. Oh, no, oh, God, no, there was something else besides the house and the man and the children. Oh, surely they were not all? What was it? Something not given back…Her breath crowded down under her ribs and grew into a monstrous frightening shape with cutting edges; it bored up into her head, and the agony was unbelievable: Yes, John, get the Doctor now, no more talk, the time has come.When this one was born it should be the last. The last. It should have been born first, for it was the one she had truly wanted. Everything came in good time. Nothing left out, left over. She was strong, in three days she would be as well as ever. Better. A woman needed milk in her to have her full health.“Mother, do you hear me?”“I’ve been telling you –““Mother, Father Connolly’s here.”“I went to Holy Communion only last week. Tell him I’m not so sinful as all that.”“Father just wants to speak with you.”He could speak as much as he pleased. It was like him to drop in and inquire about her soul as if it were a teething baby, and then stay on for a cup of tea and a round of cards and gossip. He always had a funny story of some sort, usually about an Irishman who made his little mistakes and confessed them, and the point lay in some absurd thing he would blurt out in the confessional showing his struggles between native piety and original sin. Granny felt easy about her soul. Cornelia, where are your manners? Give Father Connolly a chair. She had her secret comfortable understanding with a few favorite saints who cleared a straight road to God for her. All as surely signed and sealed as the papers for the new forty acres. Forever…heirs and assigns forever. Since the day the wedding cake was not cut, but thrown out and wasted. The whole bottom of the world dropped out, and there she was blind and sweating withnothing under her feet and the walls falling away. His hand had caught her under the breast, she had not fallen, there was the freshly polished floor with the green rug on it, just as before. He had cursed like a sailor’s parrot and said, “I’ll kill him for you.”Don’t lay a hand on him, for my sake leave something to God. “Now, Ellen, you must believe what I tell you….”So there was nothing, nothing to worry about anymore, except sometimes in the night one of the children screamed in a nightmare, and they both hustled out and hunting for the matches and calling, “There, wait a minute, here we are!”John, get the doctor now, Hapsy’s time has come. But there was Hapsy standing by the bed in a white cap. “Cornelia, tell Hapsy to take off her cap. I can’t see her plain.”Her eyes opened very wide and the room stood out like a picture she had seen somewhere. Dark colors with the shadows rising towards the ceiling in long angles. The tall black dresser gleamed with nothing on it but John’s picture, enlarged from a little one, with John’s eyes very black when they should have been blue. You never saw him, so how do you know how he looked? But the man insisted the copy was perfect, it was very rich and handsome. For a picture, yes, but it’s not my husband. The table by the bed had a linen cover and a candle and a crucifix. The light was blue from Cornelia’s silk lampshades. No sort of light at all, just frippery. You had to live forty years with kerosene lamps to appreciate honest electricity. She felt very strong and she saw Doctor Harry with a rosy nimbus around him.“You look like a saint, Doctor Harry, and I vow that’s as near as you’ll ever come to it.”“She’s saying something.”“I heard you Cornelia. What’s all this carrying on?”“Father Connolly’s saying –“Cornelia’s voice staggered and jumped like a cart in a bad road. It rounded corners and turned back again and arrived nowhere. Granny stepped up in the cart very lightly and reached for the reins, but a man sat beside her and she knew him by his hands, driving the cart. She did not look in his face, for she knew without seeing, but looked instead down the road where the trees leaned over and bowed to each other and a thousand birds were singing a Mass. She felt like singing too, but she put her hand in the bosom of her dress and pulled out a rosary, and Father Connolly murmured Latin in a very solemn voice and tickled her feet. My God, will you stop that nonsense? I’m a married woman. What if he did run away and leave me to face the priest by myself? I found another a whole world better. I wouldn’t have exchanged my husband for anybody except St. Michael himself, and you may tell him that for me with a thank you in the bargain.Light flashed on her closed eyelids, and a deep roaring shook her. Cornelia, is that lightning? I hear thunder. There’s going to be a storm. Close all the windows. Call the children in…“Mother, here we are, all of us.”“Is that you Hapsy?”“Oh, no, I’m Lydia We drove as fast as we could.”Their faces drifted above her, drifted away. The rosary fell out of her hands and Lydia put it back. Jimmy tried to help, their hands fumbled together, and granny closed two fingers around Jimmy’s thumb. Beads wouldn’t do, it must be something alive. She was so amazed her thoughts ran round and round. So, my dear Lord, this is my death and I wasn’t even thinking about it. My children have come to see me die. But I can’t, it’s not time. Oh, I always hated surprises. I wanted to give Cornelia the amethyst set –Cornelia, you’re to have the amethyst set, but Hapsy’s to wear it when she wants, and, Doctor Harry, do shut up. Nobody sent for you. Oh, my dear Lord, do wait a minute. I meant to do something about the Forty Acres, Jimmy doesn’t need it and Lydia will later on, with that worthless husband of hers. I meant to finish the alter cloth and send six bottles of wine to Sister Borgia for her dyspepsia. I want to send six bottles of wine to Sister Borgia, Father Connolly, now don’t let me forget.Cornelia’s voice made short turns and tilted over and crashed. “Oh, mother, oh, mother, oh, mother….”“I’m not going, Cornelia. I’m taken by surprise. I can’t go.”You’ll see Hapsy again. What bothered her? “I thought you’d never come.”Granny made a long journey outward, looking for Hapsy. What if I don’t find her? What then? Her heart sank down and down, there was no bottom to death, she couldn’t come to the end of it. The blue light from Cornelia’s lampshade drew into a tiny point in the center of her brain, it flickered and winked like an eye, quietly it fluttered and dwindled. Granny laid curled down within herself, amazed and watchful, staring at the point of light that was herself; her body was now only a deeper mass of shadow in an endless darkness and this darkness would curl around the light and swallow it up. God, give a sign!For a second time there was no sign. Again no bridegroom and the priest in the house. She could not remember any other sorrow because this grief wiped them all away. Oh, no, there’s nothing more cruel than this –I’ll never forgive it. She stretched herself with a deep breath and blew out the light.。

美国文学精华HIGHLIGHTS OF AMERICAN LITERATURE目录Table Of Contents国家萌芽期National Beginnings第一章班杰明•富兰克林Benjamin Franklin(1706-1790)第二章华盛顿•欧文Washington Irving (1783-1859)第三章詹姆斯•费尼莫•库珀James Fenimore Cooper (1789-1851)第四章飞利浦•佛瑞诺Philip Freneau (1752-1832)第五章威廉•卡伦•布莱恩特William Cullen Bryant (1794-1878)第六章埃德加•爱伦坡Edgar Allan Poe (1809- 1849)第七章纳撒尼尔•霍桑Nathaniel Hawthorne (1804-1864)浪漫主义与理智判断Romanticism and Reason第八章拉尔夫•沃多•埃默森Ralph Waldo Emerson (1803-1882)第九章亨利•戴维梭罗Henry David Thoreau (1817-1862)第十章赫曼•梅维尔Herman Melville (1819-1891)第十一章亨利•卫兹伍•郎费罗Henry Wadsworth Longfellow (1807-1882) 第十二章华特•惠特曼Walt Whitman (1819-1892)第十三章爱蜜丽•迪克生Emily Dickinson (1830-1886)第十四章马克•吐温Mark Twain (1835-1910)第十五章史蒂芬•克莱恩Stephen Crane (1871 -1900)第十六章亨利•詹姆斯Henry James (1843-1916)美国短篇小说：19世纪的发展The American Short Story: 19th Century Developments第十七章安布鲁斯•毕尔斯Ambrose Bierce (1842-1914)第十八章史帝芬•克莱恩Stephen Crane (1871-1900)第十九章埃德加•爱伦坡Edgar Allan Poe (1809-1849)第二十章法兰克•史塔顿Frank R Stockton (1834-1902)现实与反应主义Realism and Reaction第二十一章西尔多•德莱塞Theodore Dreiser (1871-1945)第二十二章爱德恩•阿灵顿•罗宾森Edwin Arlington Robinson (1869-1935) 第二十三章卡尔•山博格Carl Sandburg (1878-1967)第二十四章辛克莱•刘易斯Sinclair Lewis (1885-1951)第二十五章亨利•门肯Henry L. Mencken (1880-1956)第二十六章史考特•费兹杰罗 F. Scott Fitzgerald (1886-1940)第二十七章约翰•史坦贝克John Steinback (1902-1968)散文与诗歌中的现代声音Modern Voices in Prose and Poetry第二十八章厄年斯特•海明威Ernest Hemingway第二十九章威廉•福克纳William Faulkner第三十章罗柏特•佛斯特Robert Frost第三十一章阿契博得•麦克列许Archibald MacLeish威廉•卡洛斯•威廉斯William Carlos Williams and 蓝斯顿•休斯Langston Hughes第三十二章凯瑟琳•安•波特Katherine Ann Porter第三十三章索尔•贝罗Saul Bellow第三十四章雷夫•艾利森Ralph Ellison第三十五章罗伯•罗威尔Robert Lowell西尔多•罗特克Theodore Roethke兰德尔．贾雷尔Randall Jarrell and 詹姆斯．赖特James Wright当代美国戏剧作品Modern American Drama第三十六章「回归尘土」Return to Dust第三十七章「其它的演员」The Other Player国家萌芽期National Beginnings美国早期的文学既非美国人所著也非真正的文学，这些著作不属于美国的原因就是因为它们都是从英国流传进来的。

Ropeby Katherine Anne PorterOn the third day after they moved to the country he came walking back from the village carrying a basket of groceries and a twenty-four-yard coil of rope. She came out to meet him, wiping her hands on her green smock. Her hair was tumbled, her nose was scarlet with sunburn; he told her that already she looked like a born country woman. His gray flannel shirt stuck to him, his heavy shoes were dusty. She assured him he looked like a rural character in a play.他们搬到乡下的第三天，他从村上走回来，提着一篮吃的，还有一卷二十四码长的绳子。

她一边在身上的绿罩衣上擦手，一边走出来接他。

她的头发乱蓬蓬，鼻子给太阳晒得通红；他跟她说，她看起来已经像个土生土长的乡下女人了。

他的灰色法兰绒衬衫紧紧地粘在身上，沉重的皮鞋上尽是尘土。

她完全有把握地告诉他，他看上去好像戏剧中的乡巴佬角色。

Had he brought the coffee She had been waiting all day long for coffee. They had forgot it when they ordered at the store the first day.他带咖啡来了吗她等咖啡已经等了整整一天了。

他们第一天向食品铺订货的那会儿，把咖啡忘了。

有关于美的英语名言Beauty Quotes1.A beauty is a woman you notice; a charmer is one who notices you.Adlai E. Stevenson2.A thing of beauty is a joy forever: its loveliness increases; it will never pass into nothingness.John Keats3.A witty woman is a treasure; a witty beauty is a power.George Meredith4.A woman whose smile is open and whose expression is glad has a kind of beauty no matter what she wears.Anne Roiphe5.A women's greatest asset is her beauty.Alex Comfort6.Beauty and folly are old companions.Benjamin Franklin7.Beauty awakens the soul to act.Dante Alighieri8.Beauty doesn't need ornaments. Softness can't bear the weight of ornaments. Munshi Premchand9.Beauty has a lot to do with character.Kevyn Aucoin10.Beauty in things exists in the mind which contemplates them.David Hume11.Beauty is a fragile gift.Ovid12.Beauty is a manifestation of secret natural laws, whichotherwise would have been hidden from us forever.Johann Wolfgang von Goethe13.Beauty is all very well at first sight; but who ever looks at it when it has been in the house three days?George Bernard Shaw14.Beauty is eternity gazing at itself in a mirror.Khalil Gibran15.Beauty is everywhere a welcome guest.Johann Wolfgang von Goethe16.Beauty is in the heart of the beholder.H. G. Wells17.Beauty is less important than quality.Eugene Ormandy18.Beauty is not caused. It is.Emily Dickinson19.Beauty is only skin deep.Thomas Overbury20.Beauty is only skin deep. If you go after someone just because she's beautiful but don't have anything to talk about, it's going to get boring fast. You want to look beyond the surface and see if you can have fun or if you have anything in common with this person.Amanda Peet21.Beauty is only temporary, but your mind lasts you a lifetime.Alicia Machado22.Beauty is our weapon against nature; by it we make objects, giving them limit, symmetry, proportion. Beauty halts and freezes the melting flux of nature. Camille Paglia23.Beauty is power; a smile is its sword.John Ray24.Beauty is the first present nature gives to women and the first it takes away.Fay Weldon25.Beauty is the promise of happiness.Edmund Burke26.Beauty is the sole ambition, the exclusive goal of Taste.Charles Baudelaire27.Beauty is unbearable, drives us to despair, offering us fora minute the glimpse of an eternity that we should like to stretch out over the whole of time.Albert Camus28.Beauty is variable, ugliness is constant.Douglas Horton29.Beauty is whatever gives joy.Edna St. Vincent Millay30.Beauty is worse than wine, it intoxicates both the holder and beholder.Aldous Huxley31.Beauty itself is but the sensible image of the Infinite.Francis Bacon32.Beauty saves. Beauty heals. Beauty motivates. Beauty unites. Beauty returns us to our origins, and here lies the ultimate act of saving, of healing, of overcoming dualism. Matthew Fox33.Beauty, n: the power by which a woman charms a lover and terrifies a husband. Ambrose Bierce34.Because beauty isn't enough, there must be something more.Eva Herzigova35.Dear God! how beauty varies in nature and art. In awoman the flesh must be like marble; in a statue the marble must be like flesh.Victor Hugo36.Even in the centuries which appear to us to be the most monstrous and foolish, the immortal appetite for beauty has always found satisfaction.Charles Baudelaire37.Every year of my life I grow more convinced that it is wisest and best to fix our attention on the beautiful and the good, and dwell as little as possible on the evil and the false.Richard Cecil38.Everything has beauty, but not everyone sees it.Confucius39.Flowers... are a proud assertion that a ray of beauty outvalues all the utilities of the world.Ralph Waldo Emerson40.For me the greatest beauty always lies in the greatest clarity.Gotthold Ephraim Lessing41.God gave me a great body and it's my duty to take care of my physical temple. Jean Claude Van Damme42.Goodness is beauty in the best estate.Christopher Marlowe43.'Handsome' means many things to many people. If people consider me handsome, I feel flattered - and have my parents to thank for it. Realistically, it doesn't hurt to be good-looking, especially in this business.Richard Chamberlain44.Having inner beauty is something you develop on your own, and I like to think I have that.Cindy Margolis45.Heat cannot be separated from fire, or beauty from The Eternal.Dante Alighieri46.How goodness heightens beauty!Milan Kundera47.I can't live without my beauty products. I love to be in my bathroom with my candles lit, morning, noon and night. I like taking hot baths and hot showers, using my body scrubs and lotions.Traci Bingham48.I define nothing. Not beauty, not patriotism. I take each thing as it is, without prior rules about what it should be.Bob Dylan49.I don't need plastic in my body to validate me as a woman.Courtney Love50.I don't think of all the misery but of the beauty that still remains.Anne Frank51.I gave my beauty and my youth to men. I am going to give my wisdom andexperience to animals.Brigitte Bardot52.I sincerely feel that beauty largely comes from within.Christy Turlington53.I'd like to grow up and be beautiful. I know it doesn't matter, but it doesn't hurt. Kirsten Dunst54.Imagination disposes of everything; it creates beauty, justice, and happiness, which are everything in this world.Blaise Pascal55.In every man's heart there is a secret nerve that answers to the vibrations of beauty. Christopher Morley56.In youth and beauty, wisdom is but rare!Homer57.Inner beauty should be the most important part of improving one's self.Priscilla Presley58.Integrity reveals beauty.Thomas Leonard59.Let us live for the beauty of our own reality.Charles Lamb60.Life is full of beauty. Notice it. Notice the bumble bee, the small child, and the smiling faces. Smell the rain, and feel the wind. Live your life to the fullest potential, and fight for your dreams.Ashley Smith61.Like charity, I believe glamour should begin at home.Loretta Young62.Love built on beauty, soon as beauty, dies.John Donne63.Love of beauty is taste. The creation of beauty is art.Ralph Waldo Emerson64.My dad had this philosophy that if you tell children they're beautiful and wonderful then they believe it, and they will be. So I never thought I was unattractive.But I was never one of the girls at school who had lots of boyfriends.Emily Mortimer65.My mother always called me an ugly weed, so I never was aware of anything untilI was older. Plain girls should have someone telling them they are beautiful. Sometimes this works miracles.Hedy Lamarr66.Never lose an opportunity of seeing anything beautiful, for beauty is God's handwriting.Ralph Waldo Emerson67.O human beauty, what a dream art thou, that we should cast our life and hopes away on thee!Barry Cornwall68.Of life's two chief prizes, beauty and truth, I found the first in a loving heart and the second in a laborer's hand.Khalil Gibran69.Our hearts were drunk with a beauty Our eyes could never see.George William Russell70.People are like stained - glass windows. They sparkle and shine when the sun is out, but when the darkness sets in, their true beauty is revealed only if there is a light from within.Elisabeth Kubler-Ross71.Personal beauty is a greater recommendation than any letter of reference. Aristotle72.Rare is the union of beauty and purity.Juvenal73.Real beauty is to be true to oneself. That's what makes me feel good.Laetitia Casta74.Real beauty knocks you a little bit off kilter.David Byrne75.She got her looks from her father. He's a plastic surgeon.Groucho Marx76.Since love grows within you, so beauty grows. For love is the beauty of the soul. Saint Augustine77.Some guys say beauty is only skin deep. But when you walk into a party, you don't see somebody's brain. The initial contact has to be the sniffing.James Caan78.Taking joy in living is a woman's best cosmetic.Rosalind Russell79.The love of beauty in its multiple forms is the noblest gift of the human cerebrum. Alexis Carrel80.The plainer the dress, the greater luster does beauty appear.81.The problem with beauty is that it's like being born rich and getting poorer.Joan Collins82.The pursuit of truth and beauty is a sphere of activity in which we are permitted to remain children all our lives.Albert Einstein83.The real sin against life is to abuse and destroy beauty, even one's own even more, one's own, for that has been put in our care and we are responsible for its well-being. Katherine Anne Porter84.The soul that sees beauty may sometimes walk alone.Johann Wolfgang von Goethe85.The world's biggest power is the youth and beauty of a woman.Chanakya86.There is a kind of beauty in imperfection.Conrad Hall87.There is hope and a kind of beauty in there somewhere, ifyou look for it.H. R. Giger88.There is no cosmetic for beauty like happiness.Maria Mitchell89.There is no definition of beauty, but when you can see someone's spirit coming through, something unexplainable, that's beautiful to me.Liv Tyler90.Think of all the beauty still left around you and be happy.Anne Frank91.Though beauty gives you a weird sense of entitlement, it's rather frightening and threatening to have others ascribe such importance to something you know you're just renting for a while.Candice Bergen92.To love beauty is to see light.Victor Hugo93.We are learning, too, that the love of beauty is one of Nature's greatest healers. Ellsworth Huntington94.We live in a wonderful world that is full of beauty, charm and adventure. There is no end to the adventures that we can have if only we seek them with our eyes open. Jawaharlal Nehru95.What beauty is, I know not, though it adheres to many things.Albrecht Durer96.When everything else physical and mental seems to diminish, the appreciation of beauty is on the increase.Bernard Berenson97.When virtue and modesty enlighten her charms, the lustre of a beautiful woman is brighter than the stars of heaven, and the influence of her power it is in vain to resist. Akhenaton98.You can only perceive real beauty in a person as they get older.Anouk Aimee99.You can't really say what is beautiful about a place, but the image of the place will remain vividly with you.Tadao Ando100.Zest is the secret of all beauty. There is no beauty that is attractive without zest. Christian Dior。